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The 100 "Top Films" Kurosawa listed in the book "A Dream is a Genius".
Akira Kurosawa discusses his top 100 films with his daughter, Kazuo. Kurosawa limits his choices to one film per director.
Source: http://ww.criterionforum.org/forum/viewtopic.php?f=25&t=7192
This is it. The end of the lists. Finally! So the other day I posted the best documentaries of the decade as selected by a group of acclaimed documentary filmmakers. Now, we’ve got The Documentary Blog’s own top 50 docs of the decade. I was originally aiming for 25 but I just couldn’t cut it down, so 50 will have to do. Let me stress that this list represents my own personal opinion and nothing more. Hopefully some people can use this as a starting point to check out some great films. Feel free to share your own lists in the comments and let me know what I missed! One thing’s for sure; it has been a great decade for documentaries!"
Source: http://www.thedocumentaryblog.com/index.php/2010/01/05/the-documentary-blogs-top-25-documentaries-of-the-decade/. TDB is Jay Cheel who is a Co-Host of the Filmjunk-Podcast.
After a couple of weeks of tallying and formatting, we’re counting down the Top 100 Hong Kong Films of the Nineties, as voted upon by LoveHKFilm.com’s readers. Response was pretty good; we received over 130 entries and over 250 total films were nominated. We barely got any sleep over here."
Source: http://www.lovehkfilm.com/blog/damnyoukozo/2010/03/14/top-100-hong-kong-films-of-the-nineties-numbers-100-81
Two times a year—at the halfway point and during list-making season in November—I send out a list of “significant” movies to the film staff so they can try to see as many as possible before our Year In Film feature. It’s just a simple checklist, presented in the order each film was released theatrically in New York City. The idea is to give our writers time to catch up and give relative obscurities like The Arbor (last year’s No. 13 on our conjoined Best Of The Year list) the same collective consideration as more widely heralded efforts like The Tree Of Life. In the interest of transparency—and recommending a bunch of movies we love—I’m making the halftime list public this year so our readers can play along at home. A few caveats:
- My staff inevitably comes back to me with omissions, and I suspect there will be many in the comments below. We’ll add the big ones to our year-end checklist.
- Normally, the list goes out without categories. The ones below, particularly “The Essentials,” are a reflection of my taste and priorities. Mileage will definitely vary.
- Within the categories, titles are still listed in order of release in NYC through the weekend of July 13th, not in order of preference.
- Overall, the momentum from last year’s embarrassment of cinematic riches has continued into 2012, so now’s the time to get those queues in order.
The Essentials: From "Once Upon a Time in Anatolia" to "Django Unchained"
Hollywood: The System Works!: From "The Grey" to "Lés misérables"
Auteur Obligations: From "Crazy Horse" to "Killing Them Softly"
Notable Documentaries: From "West of Memphis" to "Jiro Dreams of Sushi"
Indie Curiosities: From "Return" to "Promised Land"
Imported Goods: From "Declaration of War" to "Sister"
Source: http://www.avclub.com/articles/best-films-2012,82513/ / http://www.avclub.com/articles/best-films-of-2012-so-far-an-annotated-checklist-p,89844/
Movies covered by Scott Tobias for the AV Club's New Cult Canon (2008-2013).
The introduction can be read at http://www.avclub.com/articles/the-new-cult-canon-an-introduction,9808/.
When the viewers, creators, critics, and scholars of the future reflect on the television of the 2010s, 2014 will have a special shine to it. This year, there was more places to see more original TV series than every before, yet that did nothing to dilute the quality of those series. Television is stronger than it’s ever been, as attested by the sheer volume and variety of programming The A.V. Club’s writers singled out as 2014’s best. TV Club reviewers came up with a list of more than 90 nominees, which was then whittled down to the absolute best shows (sorry, non-anthologized miniseries, telefilms, and one-off specials—maybe 2015 will be Too Many Cooks’ year) and ranked by A.V. Club staffers. This countdown of the top 35 TV shows of 2014 comprises streaming series and network staples, veteran dramas and freshman comedies, surprisingly good debuts and old favorites on the rebound. We’ll run down 35 through 11 today; come back tomorrow for the top 10, practically all of which can be watched on the device you’re staring at right now. You can get your TV virtually anywhere these days, but to know what shows are worth uploading to your many glowing rectangles, you have to read on.
Source: http://www.avclub.com/article/best-tv-shows-2014-part-1-212459 / http://www.avclub.com/article/best-tv-shows-2014-part-2-212571
In 2015, readymade and/or reductive ways of summarizing the year’s TV output cropped up as frequently and unexpectedly as new seasons of Netflix originals. Plummeting viewership foretold a true broadcast apocalypse, until Empire strode onto the scene, expanding its audience in every week of its first season. Season two brought diminished returns (in the ratings and the show’s mad-science approach to soap-opera plotting), though its continued popularity—combined with passionate responses to Black-ish, Fresh Off The Boat, Jane The Virgin, Transparent, Master Of None, and (sigh) Dr. Ken—signaled the TV audience’s interest in a broader range of storytelling perspectives. A few months later, FX CEO John Landgraf seemed to put the TV year in a nutshell, but his prediction of “peak TV in America” was the subject of so much initial handwringing and scrutinizing that the general public (and some of the critics Landgraf was addressing) twisted the notion of peak TV into a jokey hashtag in a matter of weeks.
Some of that response could’ve been knee-jerk defensiveness: Peak TV essentially destroys any TV analyst’s pretensions to comprehensiveness. Any one critic’s list of a year’s best television is bound to have some blindspots, but the members of a voting body (like the A.V. Club staffers and contributors responsible for the following list) can usually fill in one another’s gaps. 2015, however, might be a first in television history, in which no round-up of the year’s finest programming is guaranteed to be all-encompassing. Arguably, there’s a more interesting and less conventional “best TV of 2015” list to be compiled from the margins of A.V. Club contributors’ ballots and the upcoming AVQ&A about the stuff that didn’t make our top 40. But even if the following picks only represent a sliver of the TV that debuted across multiple platforms in the U.S. this year, there’s no arguing that these are the TV offerings that The A.V. Club loved the most as a critical mass. And enjoying something as a critical mass is what a populist art form like television is all about."
Source: http://www.avclub.com/article/best-tv-2015-part-1-229275 / http://www.avclub.com/article/best-tv-2015-part-2-229334
The scene was not unlike 12 Angry Men (or, in this case, 3 Shlubby Men, 1 Exasperated Woman, And A Dude On Speaker Phone From Arkansas): Armed with lists of their favorite movies of the decade, the five core A.V. Club film writers spent days sequestered in a stuffy, un-air-conditioned room—okay, it was actually just a few hours, and we were comfortable—in an effort to forge consensus on the Top 50 films of the ’00s. The result: A ranked list that is in no way arbitrary and will serve as the canonical standard for decades to come. You’re welcome.
Source: http://www.avclub.com/articles/the-best-films-of-the-00s,35931/
Richard Linklater’s Boyhood was released in mid-July, there was an immediate sense in the Dissolve office that the rest of the year was a race for second place. Watching a child grow up over a 12-year period is enormously powerful on its own, but through the prism of this one life, Linklater makes so many profound observations about love, family, politics, religion, the South, and the changes that happen at home and in the culture at large. Though we reached a solid consensus over Her in our inaugural poll, that was nothing compared to Boyhood, which topped five of our seven individual ballots, and placed second on a sixth. From there, the best of 2014 branched out into a diverse assortment of auteur favorites, unconventional historical biopics, form-challenging documentaries, and mainstream hits that proved that even a risk-averse Hollywood could still put out smart, innovative, broadly appealing entertainments. The only unifying theme is that 2014 came in like a lion and out like a lamb: Of the films below, only Selma and Inherent Vice were harvested from the late-year awards crop. Otherwise, there are no hidden patterns, just confirmation that great films came in all sizes and from all corners this year.
Source: http://thedissolve.com/features/2014-in-review/857-the-best-films-of-2014/
Few talk about the ’90s as a filmmaking renaissance on par with the late ’60s and early ’70s, but for many of the film critics at The A.V. Club, it was the decade when we were coming of age as cinephiles and writers, and we remember it with considerable affection. Those ’70s warhorses like Martin Scorsese and Robert Altman posted some of the strongest work of their careers, and an exciting new generation of filmmakers—Quentin Tarantino, Joel and Ethan Coen, Wong Kar-Wai, Olivier Assayas, David Fincher, and Wes Anderson among them—were staking out territory of their own. Presented over three days—with two 20-film lists, then a separate one for the top 10—our Top 50 survey was conducted in an effort to reflect group consensus and individual passion, with the disclaimer that all such lists have a degree of arbitrariness that can’t be avoided. (On Thursday, we’ll run a supplemental list of orphans, also-rans, and personal favorites that will undoubtedly be quirkier.) One more note before digging in: Filmmakers who had a particularly good decade were often divided against themselves in the voting. Which Coen brothers movie is the strongest? Which color from Krzysztof Kieslowski’s Three Colors trilogy shone the brightest? Peel slowly and see…
Source: http://www.avclub.com/articles/the-50-best-films-of-the-90s-1-of-3,86304/ / http://www.avclub.com/articles/the-50-best-films-of-the-90s-2-of-3,86361/ / http://www.avclub.com/articles/the-50-best-films-of-the-90s-3-of-3,86467/
Goodies:
http://www.avclub.com/articles/the-best-films-of-the-90s-orphans-outliers-and-per,86534/ (added them after rank 50)
http://www.avclub.com/articles/47-do-you-remember-the-90s,86583/
http://www.avclub.com/articles/our-mosthated-movies-of-the-90s,86560/
The years 2000-2009 were a transformative decade for Korean cinema. A large number of important directors became famous in this period, and for the first time Korean films began to travel widely around the world, both at international film festivals and in commercial releases. It has been exciting for all of us to witness this flowering of Korean cinema, but with the decade now ended we are taking the opportunity to look back and identify our own personal standouts and favorites. The critics below represent a range of different perspectives, and each one has been free to choose their own criteria in making their list. We hope this page will give readers a sense of the highlights of the past decade, and to inspire them to search out those titles which they have missed.
Ten films each by Adam Hartzell, Darcy Paquet, Davide Cazzaro, Hong Jiro, Lance Crayon & Kyu Hyun Kim.
Source: http://www.koreanfilm.org/topten2000s.html#Q
Italian cinema has proved very popular with international audiences, and yet a surprising unfamiliarity remains regarding the rich traditions from which its most fascinating moments arose. Directory of World Cinema: Italy aims to offer a wide film and cultural study in which to situate some of Italian cinema’s key aspects, from political radicalism to opera, and from the arthouse to popular genres. Essays by leading academics about prominent genres, directors and themes provide insight into the cinema of Italy and are bolstered by reviews of significant titles. From silent spectacle to the giallo, the spaghetti western to the neorealist masterworks of Rossellini, this book offers a comprehensive historical sweep of Italian cinema that will appeal to film scholars and cinephiles alike
List import based on the book. Thematic chapters:
More information on this is also aviable on http://worldcinemadirectory.co.uk/!
An important addition to Intellect’s popular series, Directory of World Cinema: Finland provides historical and cultural overviews of the country’s cinema. Over the course of their contributions to this volume, scholars from a variety of disciplines construct a collective argument that complicates the dominant international view of Finnish cinema as small-scale industry dominated by realist art-house films.
List import based on the book. Thematic chapters:
More information on this is also aviable on http://worldcinemadirectory.co.uk/!
From bleak Expressionist works to the edgy political cinema of the New German Cinema and the feel-good Heimat films of the postwar era, Directory of World Cinema: Germany aims to offer a wider film and cultural context for the films that have emerged from Germany - including some of the East German films recently made available to Western audiences for the first time. With contributions by leading academics and emerging scholars in the field, this volume explores the key directors, themes, and periods in German film history, and demonstrates how genres have been adapted over time to fit historical circumstances.
The list is based on the contents of the Book, sorted by chapters:
More information on this is also aviable on http://worldcinemadirectory.co.uk/!
With high-profile Academy Award nominations and an increasing number of big-name actors eager to sign on to promising projects, independent films have been at the forefront in recent years like never before. But the roots of such critical and commercial successes as The Hurt Locker and Precious can be traced to the first boom of independent cinema in the 1960s, when a raft of talented filmmakers emerged to capture the attention of a rapidly growing audience of young viewers.
A thorough overview of a thriving sector of cultural production, the Directory of World Cinema: American Independent chronicles the rise of the independent sector as an outlet for directors who challenge the status quo, yet still produce accessible feature films that find wide audiences and enjoy considerable box office appeal, without sacrificing critical legitimacy. Key directors are interviewed and profiled, and a sizeable selection of films are referenced and reviewed. More than a dozen sub-genres - including African American cinema, queer cinema, documentary, familial dysfunction and exploitation - are individually considered, with an emphasis on their ability to exemplify and engage with tensions inherent in American society. Copious illustrations and a range of research resources round out the volume, making this a truly comprehensive guide.
At a time when independent films are enjoying considerable cultural cachet, this easy-to-use yet authoritative guide will find an eager audience in media historians, film studies scholars and movie buffs alike.
The list is based on the contents of the Book, sorted by chapters:
More information on this is also aviable on http://worldcinemadirectory.co.uk/!
With its sprawling celebrity homes, the Walk of Fame, and the iconic sign on the hill, Hollywood is truly the land of stars. Glamorous and larger-than-life, many of the most memorable motion pictures of all time have emanated from its multimillion-dollar film industry, which exports more films per capita than that of any other nation.
Directory of World Cinema: American Hollywood lays out the cinematic history of Tinseltown - the industry, the audiences, and, of course, the stars - highlighting important thematic and cultural elements throughout. Profiles and analyses of many of the industry’s most talented and prolific directors give insights into their impact on Hollywood and beyond. A slate of blockbuster successes - and notable flops - are here discussed, providing insight into the ever-shifting aesthetic of Hollywood’s enormous global audience. User-friendly and concise yet containing an astonishing amount of information, Directory of World Cinema: American Hollywood shows how truly indispensable the Hollywood film industry is and provides a fascinating account of its cultural and artistic significance as it marks its centennial.
The list is based on the contents of the Book, sorted by chapters:
More information on this is also aviable on http://worldcinemadirectory.co.uk/!
After doing Top 10's for many years, the Japanese magazine Kinema Junpo released a list of their Top 200 Japanese movies in 2009.
Source: http://www.kinejun.jp/special/90alltimebest/index.html
For those interested, here are many of the individual years Top 10s:
http://www.rinkworks.com/checklist/list.cgi?u=crimsong&U=crimsong&p=kinemajunpotop10s
Thanks to all who’ve made this a very popular list, in spite of glitches causing dozens of fans to suddenly disappear :(
A big welcome to the land of cinematic wonders!
I’ve aimed for a rounded overview to include not only personal favourites but popular hits and international award winners, animé landmarks, avant-
garde films, the New Wave, erotic “pink films” and the great classics that are still the glory of world cinema.Much of silent cinema before the 1930s has been lost, its Benshi narrators displaced but good finally to have the landmark film Souls on the Road on Mubi. In the 20s directors were able to learn their trade through prolific practice, aware of and encorporating developments in both the Soviet Union and the West… and then, what a wealth of wonders! Older masters: the unequalled aesthetic refinement of Mizoguchi, the charm of Shimizu, the quiet observational wisdom of Ozu, the tragically curtailed promise of Yamanaka, the balanced restraint of Naruse, the muscular humanism of Kurosawa… Then, a new generation from the late 50s, in full swing in the sexually freer 60s: the idealism of Kobayashi, the political bite of Oshima, the earthy subversion of Imamura, the cool of Suzuki and Masumura. the avant-garde Terayama.. So many to explore: Yoshida, Ichikawa Kon, Teshigahara, Shinoda, Wakamatsu, Kumai, the documentaries of Ogawa and Hara, the stop motion master Kawamoto, the blood soaked Fukasaku.. the rise of animé, with the international success of Studio Ghibli and Miyazaki’s beautiful flights of fancy, the spiky Tsukamoto, the popular appeal of Kitano, the prolific shocker Miike.. up to the present with Koreeda, Naomi Kawase, Sono, Kurosawa Kiyoshi… oh and i almost went without mentioning Samurai and Godzilla.
Source: http://mubi.com/lists/kenjis-japanese-canon
Missing on TMDB as of now:
ID: tt0242845, Title: Narita: The Peasants of the Second Fortress, Year: -
Source: http://japancinema.net/2010/11/05/top-10-most-disturbing-asian-films/
As long as there are people seeking to avenge the death of their masters and vigilante heroes who have just had enough, revenge will always be there. Sorry to all you American movie goers, but Asian films know their violence. They know their vengenace. They know how to put you on the edge of your seat and then kick your ass to the back of the theater. Below are the top 10 unrelenting, violent, extreme, best of the best Asian revenge films of all time."
Source: http://japancinema.net/2010/04/24/top-10-asian-revenge-films/
With Halloween right around the corner, the entire staff of Japan Cinema made sure to supply you with a nice stash of Asian horror movies to make sure your nerves stay shot straight though the day. We judges this list on one sole factor: Does the movie have a high likelihood of producing nightmares in many people? No these arent’ your PG-13 ‘jump scare’ remakes that most people seem to love. These are the true nitty-gritty horror films that guarantee your date will want to stay the night.
Source: http://japancinema.net/2011/10/29/top-10-asian-horror-movies-of-all-time/
Samurai films are one of the most popular genres of film around the world. Historically, the genre is usually set during the Tokugawa era (1600–1868), the samurai film focuses on the end of an entire way of life for the samurai, many of the films deal with masterless ronin, or samurai dealing with changes to their status resulting from a changing society. In this list we count down the best of the best, that cover over a 50 year span of cinema.
Source: http://japancinema.net/2011/07/04/top-10-best-samurai-movies-of-all-time/
For so many people around the globe their vision of Japan has been coloured by geisha, ikebana, cherry blossoms, and tea ceremonies. For fans of Japanese films, though, that genteel tourist exterior gives way to towering monsters from kaiju films, lethal and highly-skilled samurai, and even the complex and colourful world of anime. Of all the cultural icons exported overseas by Japanese movies one may have has captured the imaginations of audiences more than all of those combined, that of the Japanese mob, the yakuza. Unlike Hollywood gangsters all the way from the roles of Edward G. Robinson up to HBO's "The Sopranos" the yakuza were (and still are) a criminal organization steeped in ritual and mystery. While in reality the yakuza grew from violent street gangs who ruled Japan's black market on movie screens they replaced samurai as a way to explore traditional values of loyalty, feudalism, and the warrior spirit during a time when these very values were being discouraged or just plain banned by the Post-War occupying U.S. forces. Of course these snarling, swaggering, tattooed gangsters have had their screen personas revamped any number of times through the decades and have ultimately fallen out of favor with Japanese movie audiences yakuza eiga have remained one of the most popular genres of Japanese film overseas. To honour these cinematic mobsters the J-Film Pow-Wow would like to present our top ten favorite yakuza films. Enjoy!"
Source: http://jfilmpowwow.blogspot.ch/2009/08/our-top-ten-favorite-yakuza-films.html
The J-Film Pow-Wow has been going for nearly four years now and during that time we've reported on the annual Top Ten lists put out by various online and print sources and Chris, Bob, Marc, Matt and Eric have spent our fair share of time scouring and critiquing other people's Top 100 lists of Japanese films. It got to the point where we thought we'd put ourselves out there with our own list, something beyond our monthly Top Ten lists. With that in mind we pooled our collective movie-going experiences and have come up with the J-Film Pow-Wow's own Top 100 Japanese Films list.
Now, before you read on you should keep something in mind. This list was tabulated by all five of the Pow-Wow crew making lists of their own favorite Japanese films - not films we felt were historically important and not films that parroted other lists that have created the present canon of Japanese cinema. Our main concern was to come up with films that we held a real heartfelt love for. Once we drew up our lists we ranked them, assigned a points system and cross referenced all five to come up with this Top 100 list. There are some obvious picks ranking in obvious positions, there are some critically-favoured films in the Japanese film canon that didn't fare as well, and there are a lot of surprises. Those are the films on the list we're all most excited about.
Source: http://jfilmpowwow.blogspot.ch/2011/01/toronto-j-film-pow-wow-top-100-favorite.html
In 1999 the British Film Institute invited a large amount of people working within the film and television industry to take part in finding the 100 top British films of the 20th century.
In response to the American Film Institute’s list of the 100 greatest American movies, film scholar Jonathan Rosenbaum took the AFI to task for what he saw as a product "symptomatic of an increasingly dumbed-down film culture that continues to outflank our shrinking expectations." Of course, any list of this kind (including Sight and Sound’s decennial roster and the Village Voice Film Critic’s Poll from a few years back) is not without its blind spots. Participants are often forced to pick a select group of favorites and make a number of concessions ("Well, if I want Antonioni to make it into the collective top 10, I’d better hedge my bets with L’Avventura instead of my personal favorite Zabriskie Point."). Consequently, underdogs and obscure gems have little chance of being represented on a composite list that’s typically unveiled with little-to-no "justification for any of its titles" (to borrow again from Rosenbaum). Rather than present a list that looks like everyone else’s, Slant Magazine has decided to do something a little different. While you will find many popular classics and critical favorites on our list of 100 Essential Films, our goal was to mix things up a bit. This list should not be construed as a definitive "greatest films" package, but as an alternative compiled by a group of kinky film-lovers wanting to give serious critical thought to neglected, forgotten and misunderstood gems. We aimed for the kind of list where post-Cahiers Orson Welles could stand shoulder-to-shoulder with a pre-pastiche Brian De Palma; where it’s understood that Hitchcock, Dreyer, Ford, and Ozu created masterpieces besides film school staples like Vertigo, The Passion of Joan of Arc, The Searchers, and Tokyo Story; and where the postmodern irony of Douglas Sirk’s Imitation of Life is allowed space next to its modern-day equivalent: Paul Verhoeven’s Showgirls (gasp!). Because space was tight, documentaries, shorts and animated films were not eligible. Additionally, we limited directors to no more than one spot on the list.
Source: http://www.slantmagazine.com/features/article/100-essential-films
"ALL-TIME" 100 Movies is a compilation by Time magazine featuring 100 of the best films released between March 3, 1923 (when the first issue of Time was published) and early 2005 (when the list was compiled). The list was compiled by critics Richard Schickel and Richard Corliss and generated significant attention, receiving 7.8 million hits in its first week alone.
Source: http://entertainment.time.com/2005/02/12/all-time-100-movies/slide/all/
Toronto – Beginning January 21, 2010, TIFF Cinematheque presents The Best of the Decade: An Alternative View, a curated series based on a poll conducted by TIFF Cinematheque’s Senior Programmer James Quandt. An esteemed panel of over sixty film curators, historians, archivists and programmers from festivals, cinematheques and similar organizations around the world participated and were asked to pick the films they thought were the most important of the past decade. The poll’s participants are connected by their leadership in the field of historical film curation, with most having published books, essays and polemics on cinema, bringing perspectives that distinguish this poll from other end-of-the-decade polls.
“Their perspective,” says Quandt, “should give us a longer view of the films made in this decade, the films that should stand the test of time and be acknowledged as historically influential works in the decades to come.” The poll includes works by venerable masters such as Abbas Kiarostami, Agnès Varda, Ingmar Bergman, Jean-Luc Godard and Pedro Almodóvar; directors who broke onto the international scene in the past 10 years, including Apichatpong Weerasethakul, Carlos Reygadas, Cristi Puiu, Jean-Pierre and Luc Dardenne, Jia Zhang-ke and David Cronenberg; and indie renegades like Gus Van Sant, Pedro Costa and Lucrecia Martel. It also features many pleasant surprises, from the inclusion of a largely unknown film, Valeska Grisebach’s Longing (2006), which was highlighted during TIFF Cinematheque’s Berlin School series last Winter, to the strong showings for films that were not necessarily well received on their initial outings, such as Gus Van Sant’s Gerry (2003) and Claire Denis’s L’Intrus (2004).
Source: http://tiff.net/press/pressreleases/2009/tiff-cinematheques-best-of-the-decade-poll-presents-the-classics-of-today
The list here is ranked but given that some of the ranks have multiple films there are no ranking numbers displayed here.
The 2013 edition can be found at http://trakt.tv/user/sp1ti/lists/they-shoot-pictures-dont-they-1000-greatest-films-2013.
Welcome to 2012's edition of the 1,000 Greatest Films. This will be the last update prior to the publication of the 'earth-shattering' Sight & Sound poll which will be unfurled later in the year. The Sight & Sound results will no doubt have a major impact on TSPDT's 1,000 Greatest Films listing. It will become the most heavily weighted poll within our calculations. Anyway, that is then, and this is now."
Source: http://www.theyshootpictures.com/gf1000.htm
The 2013 version of TSPDT’s 1,000 Greatest Films is finally here. After months of stop-start, data-building and unhealthy calculation antics, the latest group of 1,000 movie offerings has been assembled once again for your pleasure (or displeasure). Depending on your observation skills, you may have already noticed that there is a new presentation for this ongoing project.
Source: http://www.theyshootpictures.com/gf1000.htm
The old 2012 edition can be found @http://trakt.tv/users/sp1ti/lists/they-shoot-pictures-dont-they-1000-greatest-films-2012
"Nunsploitation is a subgenre of exploitation film which had its peak in Europe in the 1970s. These films typically involve Christian nuns living in convents during the Middle Ages. The main conflict of the story is usually of a religious or sexual nature, such as religious oppression or sexual suppression due to living in celibacy. The Inquisition is another common theme. These films, although often seen as pure exploitation films, often contain criticism against religion in general and the Catholic church in particular. Indeed, some protagonist dialogue voiced feminist consciousness and rejection of their subordinated social role. Many of these films were made in countries where the Catholic Church is influential, such as Italy and Spain. One atypical example of the genre, however, is Killer Nun (Suor Omicidi), set in, then, present-day Italy (1978).
Nunsploitation, along with Nazisploitation, is a subgenre that ran a parallel course alongside Women in prison films in the 1970s and 1980s. As with prison films, they are set in isolated, fortress-like convents where the all-female population turns to lesbianism and perversity. The element of religious guilt allows for lurid depictions of "mortifying the flesh" such as self-flagellation and painful, masochistic rituals. The Mother Superior is usually a cruel and corrupt warden-like martinet who enforces strict discipline (more opportunities for whippings and medieval-style punishments) and often lusts after her female charges. An equally sadistic and lecherous priest is often included to add an element of masculine menace to the story. (Wikipedia)
Pinky Violence is a film genre that developed out of the Japanese New Wave in the late sixties and blossomed into it’s own during the early seventies. The term came from the way the films mixed the erotic elements found in Pink Films (a.k.a. Roman Porno) with the action and violence found in Yakuza crime films. They are often grouped in with sexploitation films because of their excessive nudity, over the top gore and low budget production.
I'm mainly interested in seeing how many I can actively see and maybe motivate me to kill my watchlist by doing so. Can't speak for the industry's issues but it shouldn't matter what the gender of the filmmaker is really. Things like this is also selling people short but w/e.
The concept of #52FilmsByWomen:
Will you watch a film a week by a woman for one year? Say YES, and join our #52FilmsByWomen movement! It is super easy: make the commitment, watch the film and post about it on Facebook or Twitter. You can curate a list on GoWatchIt, or pull from one of the many lists of films by female writers and directors, or watch a film as part of the Trailblazing Women series on TCM during the month of October.
In our latest round of research, Exploring the Careers of Female Filmmakers: Phase III, we found that one of the barriers for female directors is a perceived scarcity of talent pool and experience. Many of those surveyed couldn’t name a female director. Can you believe that? There are over one thousand female directors on The Director List, 1300 female directors at the DGA and 45 who have helmed a $25 million movie in the last 13 years. We believe that #52FilmsByWomen is a fun way to bring attention to the many talented female filmmakers around the world, and a great way to spark a creative and interactive conversation.We hatched this idea to increase awareness of female filmmakers and hopefully along the way you’ll find stories that inspire, educate and entertain you!"
Source: http://womeninfilm.org/52-films/
A list of TV-Shows which were adapted either Manga, Manhwa or Anime.
Mainly did this because I started one for films. As I'm not really a big Asian-Drama avid I sourced most items from the following thread:
http://myanimelist.net/forum/?topicid=15317&show=0
There are still some items not on TVDB, feel free to add some:
http://pastebin.com/T5KiZQmN
Japanese Cyberpunk is a genre of underground film produced in Japan starting in the late 1980s. It bears some semblance to the high-tech and scientific Cyberpunk as understood in the West, however differs in its representation of industrial and metallic imagery and an incomprehensible narrative. The genre is primarily defined by the movie Tetsuo: The Iron Man. (Wikipedia)
No Anime Series or 'Splatter Punk' (recent releases of gore heavy movies from the likes of Nishimura/Iguchi etc.).
2012 released movies I probably want to watch.
A list of films which were adapted from either Manga, Manhwa or Anime.
Many sourced from deano11's IMDB-List http://www.imdb.com/list/3uFsOeRH6ss but extended by quite a few.
2013 released movies I probably want to watch.
2014 released movies I probably want to watch (... it's getting excessive).
2015 released movies I probably want to watch.
2016 released movies I probably want to watch.
These are not supposed to be the "best" films but the ones that entertained me the most or I got something out of.
There is still plenty I want to watch from http://trakt.tv/user/sp1ti/lists/2016-watchlist.
2017 released movies I probably want to watch.
2018 released movies I probably want to watch.
1001 Movies You Must See Before You Die is a film reference book edited by Steven Jay Schneider with original essays on each film contributed by over 70 film critics.
Source: http://en.wikipedia.org/wiki/1001_Movies_You_Must_See_Before_You_Die
